National Arts Group Honors Galveston Opera Leader

For over four decades, Maureen Patton has been the driving force behind The Grand 1894 Opera House in Galveston, Texas. Her dedication to keeping the historic venue thriving has taken her from negotiating with Lyle Lovett’s management team for a tour date to securing the necessary resources to reopen the theater just months after Hurricane Ike devastated it.

Long before the current loading dock existed, Patton was seen in casual attire, renting a forklift to move sets for a touring production when no driver was available. This unconventional approach became a memorable sight for stagehands who were waiting backstage. "They just fell apart, they laughed so hard," Patton recalled. "Here’s this crazy woman driving the forklift to go bring it to them, but that’s what you do in this business. I’ve never shied away from doing whatever is necessary in order to make things work."

Next week, Patton will join hundreds of other theater executives across the United States at the annual meeting of the Association of Performing Arts Presenters. During the conference, she will receive the NAPAMA Award for Excellence in Presenting the Performing Arts, an honor given by the North American Performing Arts Managers and Agents, a nonprofit organization founded in 1979.

In the world of performing arts, performers are the raw materials, while managers and agents act as the refineries. Patton has worked with thousands of these professionals throughout her career, learning to distinguish between those who follow through on their promises and those who tend to overpromise and underdeliver. Receiving the NAPAMA award is both an honor and a challenge for her. She has already begun preparing her speech, knowing the importance of building and maintaining relationships with these key players in the industry.

"If you don’t have a relationship with these people, then you’re kind of shouting down a well, because these are the ones who can help you get something done," Patton said.

Colleagues and peers hold her in high regard. Sarah Piel, who recently left her position as The Grand’s director of education and resource development to become president of ARTS Downtown GTX, praised Patton’s leadership and impact on the arts community. "Maureen Patton’s impact on The Grand 1894 Opera House over 43 years is extraordinary, but her impact on me over the past 14 years has been personal and lasting," Piel said. "I’ve learned so much from her leadership, generosity, and love for the arts, and I’m truly thankful for the opportunity to work with her and to call her a friend. This award is well deserved."

Patton’s journey in the performing arts began as a performer, with a background in music, including both bachelor’s and master’s degrees. She has performed and taught opera, show tunes, and a cappella, gaining a broad perspective on the industry. Her diverse experience has allowed her to understand the nuances of different genres and how they can be successfully integrated into programming.

The Grand has long been a hub for international talent, with its history featuring legends like Sarah Bernhardt, John Barrymore, Itzhak Perlman, and Willie Nelson. Patton plays a crucial role in booking these artists, often navigating industry rules to ensure they perform in Galveston. Despite these challenges, the theater consistently sells out, showcasing the appeal of its programming.

The Grand has also hosted unique performances, such as a live elephant in Verdi’s Aida and horses for a theatrical adaptation of Ben-Hur. Recently, it has expanded its Juneteenth programming and partnered with local nonprofits like Latinas for the Arts. Upcoming events include the Montreal-based Cirque Kalabanté, Dinosaur World Live, comedian Jeff Foxworthy, and the touring company of The Music Man.

"What I am always trying to do is make sure that we’ve got enough diversity in our artistic programming that everybody’s gonna find something they want to come to," Patton said. "And that’s not as hard to do as you think, but it’s also probably not as easy to do as other people think."

Dóri Bosnyák, The Grand’s Director of Marketing, has witnessed Patton’s leadership style firsthand. She described it as echoing the improv technique "yes, and…" where ideas are built upon rather than dismissed. "Maureen is always ready to try new ideas and will never turn down a suggestion without seriously considering all possibilities and outcomes," Bosnyák said. "I think the NAPAMA Board has recognized her ability to take risks in a cool-headed, sustainable manner as well, which is why they have been so eager to successfully work with her over the decades; and it is largely why I’ve been so excited to join her team."

According to Patton, 70% of The Grand’s audience comes from outside Galveston, and its events generate significant economic activity for local businesses. Performers often express their appreciation for the venue’s acoustics and artist-friendly environment.

"Unless they’re in character and they can’t break character," Patton added.

Patton’s commitment to innovation extends beyond traditional programming. On one occasion, she negotiated with James Earl Jones’ manager, telling him, "he could read the phone book and we wouldn’t care." The resulting performance featured Jones’ favorite dramatic monologues, including Shakespeare’s Othello.

Another memorable moment came when Harry Belafonte rehearsed with his band in the empty theater. As he turned to survey the quiet space, he remarked, "My God, what a jewel." For Patton, this story still gives her goosebumps.

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